This dissertation is about the presence of death in contemporary Mexican art, specifically the ways in which it transforms an ancient tradition while reflecting the sociopolitical changes brought about by the neoliberal policies that were put into place during the presidency of Carlos Salinas de Gortari (1988--1994). It studies the relationship between the narrative of death representations in Mexican art; the economic and sociopolitical turmoil of the 1990s; and the presence of death in the works of prominent contemporary Mexican artists---Teresa Margolles, Maria Garcia-Ibanez, Gabriel de la Mora, Lenin Marquez Salazar, and Gonzalo Garcia---in order to argue that their work not only transforms the national tradition of death to which it belongs, but also responds to the unprecedented changes imposed by neoliberalism. My dissertation also argues that the current crisis of place---an overarching anxiety over the physical territory of the country (which is threatened by neoliberalism)---has a strong presence in contemporary Mexican art, and is evident in its treatment of the national symbol of death. It aims to demonstrate how the ending of decades of land distribution that were crucial in the construction of a national identity bound to the land, where the bones of its ancestors lay, was the catalyst for new kinds of death representations that appeal to the senses, the emotions, and universal ideas. Through the study of a selection of artworks of four contemporary Mexican artists, this project will demonstrate how the death imagery that started to appear in the art of the 1990s marks a radical break from the traditional symbolism of the nationalistic imagery started by Jose Guadalupe Posada and Diego Rivera, reflecting no less than a reinvention of the national identity in the face of globalization.
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机译：这篇论文是关于死亡在当代墨西哥艺术中的存在，特别是它在改变古代传统的同时，也反映了卡洛斯·萨利纳斯·德·高塔里（Carlos Salinas de Gortari）（1988-Carlos Salinas de Gortari）总统任期内制定的新自由主义政策带来的社会政治变化。 -1994）。它研究了墨西哥艺术中死亡表现叙事之间的关系。 1990年代的经济和社会政治动荡；以及墨西哥当代杰出艺术家（特雷莎·玛格丽丝（Teresa Margolles），玛丽亚·加西亚（Maria Garcia-Ibanez），加布里埃尔·德拉莫拉（Gabriel de la Mora），列宁·马尔克斯·萨拉扎（Ginzalo Garcia）和贡萨洛·加西亚（Gonzalo Garcia）它属于死亡的民族传统，但也对新自由主义所施加的空前变化作出了回应。我的论文还指出，当前的地方危机-对国家实体领土的全面焦虑（受到新自由主义的威胁）-在当代墨西哥艺术中占有很强的地位，这在对墨西哥的处理上很明显。国家象征死亡。它的目的是证明几十年的土地分配结束对建立与土地联系在一起的民族认同至关重要，土地祖先的骨骼位于该土地上，这对于吸引人的感官的新型死亡表征起了催化作用，情感和普遍观念。通过研究精选的四位当代墨西哥艺术家的艺术品，该项目将展示在1990年代的艺术中开始出现的死亡意象与从何塞·瓜达卢佩·波萨达（Jose Guadalupe Posada）和迭戈·里维拉（Diego Rivera），反映了面对全球化至少重塑了民族身份。
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